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Obsidian

Meshuggah

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------------------------------------------------------------------------------- OBSIDIAN (Extended Version) - Meshuggah ------------------------------------------------------------------------------- Tabbed by: Dane Weber Email: daneweber88@gmail.com Five-string bass in B-standard just plays the root notes. In distorted parts, drums hit the bass drum and hi-hat in the same rhythm as the rhythm guitars. Very simple. If you have guitar pro, I uploaded a .gp4 version of this. Q - quarter note E - eighth note S - sixteenth note E. - dotted eighth H. - dotted half X - dead note, a percussive sound Tempo: 88bpm, slow. Clean intro: x8 Tuning: 7-string B standard Phaser throughout, and ring modulation on fading feedback. Time signatures: 7/8 x8, then 1/4 x1 for one play-through. Let ring. e|-----------|-----------|-----------|-----------| B|-----------|-----------|-----------|-----------| g|:----------|-----------|-----------|-----------| D|:----0---0-|-----0---0-|-----0---0-|-----0---0-| A|:--5---5---|---5---5---|---5---5---|---5---5---| E|-----------|-----------|-----------|-----------| B|-3---------|-7---------|-6---------|-7---------| Q E Q E E Q E Q E E Q E Q E E Q E Q E E e|-----------|-----------|-----------|-----------|---| B|-----------|-----------|-----------|-----------|---| g|-----------|-----------|-----------|-----------|--:| D|-----0---0-|-----0---0-|-----0---0-|-----0---0-|--:| A|---5---5---|---5---5---|---5---5---|---5---5---|--:| E|-----------|-----------|-----------|-7---------|---| B|-3---------|-7---------|-6---------|-----------|-7-| Q E Q E E Q E Q E E Q E Q E E Q E Q E E Q Rhythm: x14, until the end. Tuning: 8-string, down a whole step; then drop-D: below normal bass range. Time signatures: (13/16, 15/16)x4, then 16/16. Fits over 8 bars of 4/4. For the 2b1, pre-bend a 1 up to 2, and release. d|-----|-----|-----|-----|-----|-----|-----|-----|---------| a|-----|-----|-----|-----|-----|-----|-----|-----|---------| f|-----|-----|-----|-----|-----|-----|-----|-----|---------| C|:----|-----|-----|-----|-----|-----|-----|-----|--------:| G|:----|-----|-----|-----|-----|-----|-----|-----|--------:| D|-----|-----|-----|-----|-----|-----|-----|-----|---------| A|-----|-----|-----|-----|-----|-----|-----|-----|---------| D|-0-X-|-0---|-0-X-|-0---|-0-X-|-0---|-0-X-|-0---|-0-X-2b1-| H.S H.+E. H.S H.+E. H.S H.+E. H.S H.+E. H.S E. Dissonance 1: x7 Tuning: same as above. Time signatures: same as above. R is a rest. Second guitar doubles up with an 8 instead of the 7, to form a minor second. d|------------|-----------|-----------|-----------| a|------------|-----------|-----------|-----------| f|------------|-----------|-----------|-----------| C|:-----------|-----------|-----------|-----------| G|:-R-7-7-7-7-|-R-7-7-7-7-|-R-7-7-7-7-|-R-7-7-7-7-| D|------------|-----------|-----------|-----------| A|------------|-----------|-----------|-----------| D|------------|-----------|-----------|-----------| E.E.E.S E. E.E.E.E.E. E.E.E.S E. E.E.E.E.E. d|------------|-----------|-----------|-----------|--------------| a|------------|-----------|-----------|-----------|--------------| f|------------|-----------|-----------|-----------|--------------| C|------------|-----------|-----------|-----------|-------------:| G|--R-7-7-7-7-|-R-7-7-7-7-|-R-7-7-7-7-|-R-7-7-7-7-|-R-7-7-7-7-R-:| D|------------|-----------|-----------|-----------|--------------| A|------------|-----------|-----------|-----------|--------------| D|------------|-----------|-----------|-----------|--------------| E.E.E.S E. E.E.E.E.E. E.E.E.S E. E.E.E.E.E. E.E.E.S E.E. Dissonance 2: x7 Everything: same as above. For the remainder of the song, the above dissonance is down an octave, so guitar 1 plays 5 on the low A string, and guitar 2 plays 6 on the low A string. Except: for the first bar of 13/16, guitar one plays 7 on the G string, while guitar 2 drops down an octave to play 6 on the low A string, to have a single bar of a major seventh. The first guitar then drops down an octave to form a minor second again until the abrupt end with no fadeout.
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